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A memory of technical images: Diary films of Jonas Mekas
Vobořil, Tomáš ; Svatoňová, Kateřina (advisor) ; Šimůnek, Michal (referee)
Jonas Mekas connects in his work amateur mode of filming with professional motivations of experimental filmmaker. His film style is based on the aesthetics of home movies and he turns attention to his own personal, individual experience. He and the other filmmakers of The New American Cinema wrested film from the classical studio mode of production, established a new distributional circuit of the independent cinema and founded institutions dedicated to archive and study avantgarde and experimental cinema. The main objective of this thesis is to describe, how home movies came into use as a formal medium of communication for independent filmmakers in New York in the fifties and sixties. This thesis focuses mainly on the work of Lithuanian experimental filmmaker, poet, film critic and organiser Jonas Mekas. The main interest is in, how Mekas removes home movies from their original context and how are home movies perceived beyond their primary context in general. Therefore I define according to Roger Odin signs and functions of home movies in terms of the family institution. I specify various fields of cinema, which Mekas merges in his work. I study strategies, which are used to process home movies in a detailed analysis of Mekas's film As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty...
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.: Reading and observing the Case for the New Hangman
Maršálek, Dan ; Svatoňová, Kateřina (advisor) ; Heczková, Libuše (referee)
This text is concerned with an analysis of the film A Case for the New Hangman (1969, Pavel Juráček) in the viewpoint of the way, how does it fulfill the allegory genre, or more precisely its modernist variation. Compared to the former texts, which were focused on the same film, this text explains the main features of the film in their conceptual complexity, which is induced by the films structural kernel, which is the consequence of the subgenre setting. The main outcome of this study is the underpinned specificity of the film, which is an important component of the cultural heritage of Czech cinematography. Three subordinated outcomes are: Survey in the texts which are related with the scrutinized film. Comparative and critical analysis of chosen theories of literature concerned with the notion of allegory and afterwards the transfer of them to the field of film. And building up the genology model of modernist allegory, which is a functional characteristic of one of the two dominant trends of the Czechoslovak art cinematography of the 60. - the so called "Czechoslovak New Wave". This text is theoretically analytical film study research of the Case for the New Hangman in genological and narratological methodology.
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Trapped in the Infinity: Central European Panoramas and Their Role in the National Emancipation Processes
Forejt, Matěj ; Svatoňová, Kateřina (advisor) ; Klimeš, Ivan (referee)
From pioneer times of C. W. Ceram on, many media-archaeology scholars' attention was attracted by on of the most monumental apparatuses - a panorama. Like in a case of many other optical toys, the panorama contains several phenomena of film medium a long time before its invention. In addition to that, the panorama is considered to be the first form of mass entertainment ever. All of its characteristics were defined already by Robert Barker, a British painter and an inventor of the panoramic painting. Contrary to an original way of its commercial exhibiting, a group of panoramas of the late 19th century was produced in a context of nationalist movements in Central Europe. This very group of panoramas is the main object of this thesis. Its main goal is to define an emancipatory-patriotic panorama as a specific media genre. Furthermore, related problems of media constancy, collective identity, and memory spaces are examined.
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The methodology of preservation and presentation of multimedia data
Získal, Bohuš ; Bohuš Získal ; Cubr, Ladislav ; Berka, Roman ; Svatoňová, Kateřina
This methodology was created within the implementation of the project "Laterna magika. History and Present, Documentation, Preservation and Accessibility ”DG16P02H005 funded by the Program to Support Applied Research and Experimental Development of National and Cultural Identity for the years 2016 to 2022 (NAKI II). The methodology is based on the need to describe the procedures for the description, storage and presentation of digital information objects created during the processing of documentation of historical performances of Laterna magika and to define these procedures in such a way that they are applicable to other works of a similar nature. The methodology responds to a situation where at the national level, and for some specifics of the content or at the global level, there are no defined standards of care for this type of cultural heritage, which would cover all the necessary activities. The above-mentioned specifics include the form of a live performance using technologies and elements, which significantly contribute to the informational and aesthetic form of the work, and the combination of which as a whole is difficult to document. The methodology is intended for memory institutions, their partner organizations or suppliers who participate in the creation, processing, presentation and storage of data generated during the digitization, reconstruction and description of documentation of multimedia performances. Best practices and data structures take into account the situation where physical (data) objects related to works are in the collections of different institutions or individuals, and it is not possible or desirable to collect all physical objects under one common administration. The methodology was verified by the researchers of the project for the Národní filmový archiv, Prague, CESNET and the Institute of Intermedia at CTU FEE on selected data created for the presentation and preservation of historical performances of Laterna magika.
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Intuition and vacuum of film imaging
Krůček, Václav ; Svatoňová, Kateřina (advisor) ; Petříček, Miroslav (referee) ; Dvořák, Tomáš (referee)
My PhD thesis explores impacts of the specific moments of film within the context of its ontological potential. It follows forms of intervention into stability and continuity of visual re-presentation, which may induce intuition of the new. The opening chapters are devoted to the image "in itself", presented as duration of a "self-modulating" shot, whose apparent stillness initiates (with participation of sound) the pressure of off-screen field. The relationship of visible and sensible is considered from this point as initiation of impulses and changes immanent to film recording, as examined in subsequent arguments. Presented shots in these cases not only fulfill its narrative function by means of pictorial representation, but act concurrently as movement of elementary structures in time, as Gilles Deleuze points out. Based on references to his reflections, the following chapters expand on topics that analyze factors, partaking in possible initiation of intuition: effects of sequential processes of difference and repetition in film images, their rhythm, duration, elementarization, refraction and disappearance. Sudden occurences and persistence of these processes are demonstrated in film examples, where intuition departs medium and unfolds reality beyond film.
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Onthology of space and time in Aimless Walk
Fonar, Alexej ; Svatoňová, Kateřina (advisor) ; Španihelová, Magda (referee)
This work examines a movie Aimless Walk from Alexander Hackenschmied, wich is specific for moments, where photographic picture is becoming a film one and vice versa. Purpose of this work is to reveal, what impact has this intermediate relationship on depicting reality on the level of the space in movie. Through neoformalistic analysis it is shown, how much can an medially transformed object be perceived either in an illusive or realistic kind of way. Analysis is carried out on four different levels: on the level of usage of the camera, usage of the film montage and usage of space and time. Photographic image detained in duration, opposing the time of the world and credible in its own representation of reality, is in context of film dispositive determined as an realistic element. Credibility of photographic image can be open to doubt thanks to possibilities of film montage and camera, that take in account also timeliness of reality, and due to that, can the author create new more or less illusive elements in his artwork. Replication of the main character trough montage is great example of the fact that for moving image simple recognizing the identity of the model of the world and his portrait (de facto his space of representation) is not enough to be considered as trustworthy evidence of the...
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Projection mapping as a film. Film techniques used in works of the Macula group
Bezucha, Ondřej ; Svatoňová, Kateřina (advisor) ; Španihelová, Magda (referee)
Projection mapping is a visual process where a moving picture is projected onto the surface of real objects in a creative manner. This phenomenon started to appear widely in galleries and music clubs just about ten years ago, but it has grown very quickly. Today large-scale projection mappings are a common part of various brand campaigns and city celebrations. The main objective of this thesis is to describe how the projection mapping language works, how it is related to the film language and what aspects of style and form are present in this kind of visual work. This thesis focuses on the works of a Czech visual group called the Macula, which was active during the years 2009-2014. At that time the main group members were Amar Mulabegović, Dan Gregor and Ondřej Skala. My research will be based on publicly available sources - live performance video recordings, previously published research papers and public interviews. Methodologically, this thesis will be based on the approach of new film history, neoformalism, new media theory, semiotics and other approaches associated with experimental film analysis. KEYWORDS Videomapping, projection mapping, film relocation, Macula.
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TV series adaptation as an intersemiotic translation of M. Atwood's novel Hanmaid's Tale
Franková, Alžběta ; Kalivodová, Eva (advisor) ; Svatoňová, Kateřina (referee)
This thesis examines TV series adaptation as a type of intersemiotic translation. Proposing an interdisciplinary approach to adaptations, it combines methods of translation studies, film theory, narratology, and adaptation studies. The thesis analyses the translation of Margaret Atwood's dystopian novel The Handmaid's Tale into the first season of its TV series namesake. While using Katerina Perdikaki's translation/adaptation model, it studies and interprets the shifts that occur during the adaptation process. Applying hypotheses by Linda Hutcheon, it focuses on the film means used in the TV series to express meanings narrated in the novel (such as dialogues, voice-over, sound and soundtrack, types of camera shots, camera angles and movement, editing, colours, depth of field, light, narrative and story time, actors, or misanscene).
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Play of shifts, diffractions, discontinuities and ruptures. Seijun Suzuki's film sign seen from philosophical perspective of Jacquese Derrida.
Slavík, Benjamin ; Svatoňová, Kateřina (advisor) ; Vojvodík, Josef (referee)
This bachelor thesis deals with the relationship of the thoughts of the French post-structuralist philosopher Jacques Derrida and the film theory, or film media, respectively. Assumption of the thesis is folowing: The film sign, like other signs, does not show a coherent structure; instead of that is being filled with changes, breaks, gaps or cracks. The first part of the thesis focuses on the analysis of some Derrida terms: Supplement, Differänce, Hymen, and the iterable structure of a sign. The follow-up section relates Derrida's theory to the discourse of media philosophy, specifically to the thoughts of the German philosopher Dieter Mersch. The third part deals with the nature of the film suplement, thus, the relationship between the reality of the film and the representation of reality by the film. This lead up to a key chapter, which substitutes the film-analogue for the film-inscription. The final part deals with a deconstruction of the Japanese film Tokyo nagaremono (1966), which was chosen as an effective example of previously discussed theory - a structure of changes, breaks, gaps or cracks. Keywords Deconstruction, media philosophy, Jacques Derrida, Dieter Mersch, post-structuralism, Seijun Suzuki
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Deep Time of the Earth: Aguirre, the Wrath of God
Sirůček, Jiří ; Svatoňová, Kateřina (advisor) ; Heczková, Libuše (referee)
The shock caused by the discovery that the existence of Earth transcends mankind by billions of years was, after the Copernican heliocentrism, yet another radical disruption of the idea of the human as the centre of the world and the universe. Even thought the concept of deep time was, along with the questioning of the uniqueness of the subject, accepted relatively soon in the field of exact sciences, the dualistic, teleological and anthropocentric thinking partially persists in number of areas of the humanities up to the present day. This bachelor's thesis uses the conception of deep temporality of Earth as a motive through which it follows currents of philosophical thinking that "betray" the post-Kantian tradition and seek to reflect the outer world lying beyond the limits of subjectivity, to turn the attention to the non-human and to imagine its qualities, although with the necessary awareness that it always will be a speculation. The text at first introduces some of the contemporary tendencies in continental philosophy, particularly speculative realism, object oriented ontology and new materialism, and connects them with works from the area of geology that consider options for cognitive comprehension of the vast temporality of the Earth. The bachelor's thesis consequently applies the findings...
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